I have no copy of the poetical part of this edition before me, but believe it to be identical with the version already given. The impression left upon me is that the work in 1586 was only just finished enough to allow it to be called finished, and that its full excellence was not yet displayed to the public, though it was about to be so very shortly. Signor Arienta tells me that Tabachetti has adhered rather closely to a design for the same subject by Albert Durer, but I have failed to find the design to which he is referring. Bordiga again calls attention to the extreme beauty of the view of Varallo that is to be had on leaving this chapel. [Picture: Plate XV. Tabachetti’s “Journey to Calvary.” The Two Thieves and their Driver] CHAPEL NO. 37. THE NAILING OF CHRIST TO THE CROSS. This and the two following chapels are on the top of the small rise of some fifteen or twenty feet in which Bernardino Caimi is said to have seen a resemblance to Mount Calvary; they are approached by a staircase which leads directly to Giovanni D’Enrico’s largest work. Bordiga says that the chapel was begun in 1589 at the expense of Marchese Giacomo d’Adda; he probably, however, refers only to the building itself. It is not mentioned as even contemplated in the 1586 edition of Caccia, nor yet, unless my memory fails me, in that of 1590. It is not known when the terra-cotta work was begun, but it was not yet quite finished in 1644, when, as I have said, D’Enrico died. The frescoes are by Melchiorre Gilardini, and have been sufficiently praised by other writers; they are fairly well preserved, and show, as in the preceding chapel and in Gaudenzio’s Crucifixion, how much more is to be said for the union of painting and sculpture when both are in the hands of capable men, than we are apt to think. If the reader will divest the sculpture of its colour and background, how cold and uninteresting will it not seem in comparison even with its present somewhat impaired splendour. Looking at the really marvellous results that have been achieved, we cannot refrain from a passing regret at the spite that threw Tabachetti half a century off Gaudenzio, instead of letting them come together, but we must take these things as we find them.